PRICE 15 CENTS Successful Rural Plays A Strong List From Which to Select Your Next Play TARM FOLKS. A Rural Play in Four Acts, by Arthur LEWIS TUBBS. P^or five male and six female characters. Time of playing, two hours and a half. One simple exterior, two easy interior scenes. Costumes, modern. Flora Goodwin, a farmer's daughter, is engaged to Philip Burleigh, a young New Yorker. Philip's mother wants him to marry a society woman, and by falsehoods makes Flora believe Philip does not love her. Dave Weston, who wants Flora himself, helps the deception by intercepting a letter from Philip to Flora. She agrees to marry Dave, but on the eve of their marriage Dave confesses, Philip learns the truth, and he and Flora are reunited. It is a simple plot, but full of speeches and situations that sway an audience alternately to tears and to laughter. Price, 25 cents. HOME TIES. A Rural Play in Four Acts, by Arthur Lewis Tubes. Characters, four male, five female. Plays two hours and a half. Scene, a simple interior — same for all four acts. Costvimes, modern. One of the strongest plays Mr. Tubbs has written. Martin Winn's wife left him when his daughter Ruth was a baby. Harold Vincent, the nephew and adopted son of the man who has wronged Martin, makes love to Ruth Winn. She is also loved by Len Everett, a prosperous young farmer. When Martin discovers who Harold is, he orders him to leave Ruth. Harold, who does not love sincerely, yields. Ruth dis- covers she loves Len, but thinks she has lost him also. Then he comes back, and Ruth finds her happiness. Price 25 cents. THE OLD NEW^ HAMPSHIRE HOME. A New England Drama in Three Acts, by Frank Dumont. For seven males and four females. Time, two hours and a half. Costumes, modern. A play with a strong heart interest and pathos, yet rich in humor. Easy to act and very effective. A rural drama of the "Old Homstead" and "Way Down East" type. Two ex- terior scenes, one interior, all easy to set. Full of strong sit- uations and delightfully humorous passages. The kind of a play everybody understands and likes. Price, 25 cents. THE OLD DAIRY HOMESTEAD. A Rural Comedy in Three Acts, by Frank Dumont. For five males and four females. Time, two hours. Rural costumes. Scenes rural ex- terior and interior. An adventurer obtains a large sum of money from a farm house through the intimidation of the farmer's niece, whose husband he claims to be. Her escapes from the wiles of the villain and his female accomplice are both starting and novel. Price, 15 cents. A WHITE MOUNTAIN BOY. A Strong Melodrama in Five Acts, by Charles Townsend. For seven males and four females, and three supers. Time, two hours and twenty minutes. One exterior, three interiors. Costumes easy. The hero, a country lad, twice saves the life of a banker's daughter, which results in their betrothal. A scoundrelly clerk has the banker in his power, but the White Mountain boy finds a way to check- mate his schemes, saves the banker, and wins the girl. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Where Is My Coat? A Comedy in One Act By FRANK DUMONT Author of *'Not a Bit Jealous y' *'Hozu a Woman Keeps a Seiret,'^ **The Depot Lunch Counter,'' etc. PHILADELPHIA THE PENN PUBLISHING COMPANY 19 I 8 ^K\'^ 4.^" Copyright 19 18 by The Penn Publishing Company APR I7.J9 "Where Is My Coat ? ©CI.D 49362 where Is My Coat? CHARACTERS Henry Sweetly - - who is careless about coais Mrs. Sweetly his young bride Mrs. Abigail Lemmons - - her mother y a widow Henry Darcy a7i old bachelor Time. — Half an hour. STORY OF THE PLAY Mr. Henry Sweetly has promised to be home by ten o'clock and he has not yet returned. Mrs. Sweetly, in tears, is assured by her mother, Mrs. Lemmons, that all men are born fabricators. "Wait and see if he does not come home and tell you a wonderful fairy story." Henry arrives. " My watch stopped." His mother-in-law discovers sentimental letters in his coat pocket signed " Mabel." " Oh, you deceiving wretch ! " " This is not my coat." Henry Darcy enters, demanding his coat. " A confederate ! A fine pair ! " Mrs. Lemmons discovers that Darcy is , an old flame. " You will be Mrs. Darcy as soon as you fix the date." Things are readjusted to every- body's satisfaction. COSTUMES, ETC. Henry. About twenty-five. A brisk young man. At entrance wears light overcoat and hat over business suit. Mrs. Sweetly. About twenty. Wears a pretty evening house dress. Mrs. Lemmons. About forty. Wears handsome house dress. Darcy. About forty. Wears light overcoat and hat over business or evening clothes. PROPERTIES For Mrs. Sweetly: Book. Handkerchief. Two letters. For Mrs. Lemmons: Knitting materials. Knit- ting bag. Photograph. For Henry. Light overcoat and hat. Watch. For Darcy. Light overcoat and hat. Watch. Other Properties: Clock on mantel. Bell to be heard off stage. SCENE PLOT ^^ATAAC/< Scene. — Sitting-room or parlor in the Sweetly apartment. Doorway up c, showing hall and hat- rack. Table with lamp down c. Chair at each side of table, and another chair down r. Mantel, or book- case if preferred, at l. Clock on mantel. Other fur- nishings as desired to make a handsome, comfortable room. Where Is My Coat? SCENE. — Sitting-room or parlor of the Sweetly apartment. Door up c, leading to hall. Mantel or bookcase l. Table and chairs c. Chair down r. (Discovered: Mrs. Sweetly seated r. of table, Mrs. Lemmons, knitting, seated L. of table. Mrs. Sweetly is making a pretense of reading, but is weeping, and dabbing her eyes with a handkerchief. Mrs. Lemmons flounces around to look at clock on mantel l., then flounces back again with a grim snort.) Mrs. Sweetly {weeping). What did you say, mother ? Mrs. Lemmons {savagely). Nothing. But I could say a lot. Mrs. Sweetly. What time was that struck a few minutes ago? {Weeps.) Mrs. Lemmons {cramming knitting into bag, and rising with a determined air). That, my child, was eleven o'clock. {Goes l. and looks at clock.) And now it's ten minutes past. {Goes up to door c, looks out, and comes down l.) Mrs. Sweetly {weeping). Where c-can Hen- Henry be? Mrs. Lemmons. My child, don't shed another tear. There is not a man in this world worth it. Who knows it better than I? Tears were of no avail with your father, so I used a different argument. 7 8 WHERE IS MY COAT ? Mrs. Sweetly ( tearfully ) . What was that, mother ? Mrs. Lemmons (with grim gesture). Force! I took him by the hair, and brought him to terms. Mrs. Sweetly. Henry always keeps his cut so — so short. Mrs. Lemmons. Yes, it's his mean disposition. Mrs. Sweetly. He promised to return home at ten o'clock. I suppose he's at the c-club. Mrs. Lemmons (snorting). Club! When you have seen as much of men as I have, you'll have them all in the Ananias Club. Mrs. Sweetly. Oh, Henry is very truthful. He always tells me v/here he's been. Mrs. Lemmons. Oh, fudge! All men are born fabricators. I wouldn't believe one of them under oath. I say it, and I mean it. (Sits l. of table.) Mrs. Sweetly. Oh, if he should ever lie to me I Mrs. Lemmons (laughing). Lie to you! Why, he couldn't speak the truth if he tried. Now, wait and see if he does not come home and tell you a wonderful fairy story. Your father was a past master in that art, but I tripped him up in every yarn he told me, and it cost him many a new silk dress or bit of jewelry to square himself. Thank goodness, I know where he is now. Mrs. Sweetly (weeping again). Poor, dear father. Mrs. Lemmons. Well, Etta, he's better off than deceiving his poor trusting wife all the time. Mrs. Sweetly (drying her tears). I do not believe that Henry would wilfully deceive me. Mrs. Lemmons. Mark what I tell you — he's con- cocting some excuse right now, and he thinks you will believe it. (Bell rings outside door c.) There's your dear truthful husband. (Rises and goes l. Mrs. Sweetly rises and stands down R. Enter Henry Sweetly, c.) Henry. Hullo there, birdie. (Hangs up coat and hat on rack, up c, and comes joyfully dozvn r. to Mrs. Sweetly.) Tired of waiting for your hubby? WHERE IS MY COAT T 9 Mrs. Sweetly {coldly repulsuig him). Please ex- cuse me. I am going to retire. {Goes c.) Henry {follozving her, astonished). Why, Etta — what's the matter ? Mrs. Sweetly. You promised to return home at ten o'clock. (Mrs. Lemmons looks pleased.) Henry {down r. c). So I did — but woitld you believe it — my watch had stopped {taking out watch and showing it) and soon as I discovered the fact I quickly started for home. (Mrs. Lemmons laughs. Henry looks at her.) Is there anything comical in a watch stopping? Mrs. Lemmons. No — it's the comical story you tell. Were there no clocks to look at? Did no one else have a watch that wasn't stopped ? Henry. Now, my dear ladies— I am telling the truth. {Puts watch in pocket.) (Mrs. Lemmons laughs scornfidly.) Mrs. Lemmons. As truthful as a man can be. You'd better take your watch to a jeweler. Mrs. Sweetly {coldly). Were you at the office or at the club? Henry. The office, my dear. Potter came over from New York to see me, and I had to wait there for him. Mrs. Lemmons. And then you stopped at the club or went to see a sick friend, or missed a car — or some little fairy story like that? Henry {stiffly). Mrs. Lemmons, I do not have to account to you for my actions or whereabouts. Mrs. Lemmons {going up l.). It's a lucky thing for you that you do not. My poor dead and gone husband tried his best to gull me with his yarns and stories, and you see where he is. He was punished for his wickedness to me. Henry {with deep meaning). I trust he is now at rest. 10 WHERE IS MY COAT ? Mrs. Sweetly (crossing l. to Mrs. Lemmons). Mother! Don't quarrel with Henry. He'll tell me the truth or I will punish him myself. Mrs. Lemmons. Oh, my poor child! To see you abused by a scheming man breaks my heart. ( Weeps violently.) Thank Heaven I'm through with the men! They'll never he to me again. {^Outburst of weeping, zvhich starts Mrs. Sweetly weeping again. Henry looks at them both. Crosses L., and tries to pacify his wife; she screams at him and eludes him.) Henry {going r.). All this because my watch stopped ! Mrs. Sweetly (l. c). Oh! Oh! To think he would deceive me this way. Mrs. Lemmons (l.). It is mortifying. I wouldn't stand for it any longer, Etta. Mrs. Sweetly. You are right. Well, he won't go out again. (Goes to hat-rack up c, takes the coat and feeling in the pockets she discovers two letters.) Ah! What's this? Letters! {Comes down l. to Mrs. Lemmons.) Look, mother! See what I found in his pocket. Henry {down ^.^ looks puzzled) . Business letters, no doubt. Mrs. Lemmons {down l.). No doubt, but your wife has a right to see them. I always opened my dead Aunt Jane's husband's letters. {Looks at letters.) What's this.'^ — a woman's handwriting. Mrs. Sweetly (l. c, screams). A woman's hand- writing? (Screams again and weeps.) Mrs. Lemmons (l.). Certainly — what could you expect from a man whose watch has stopped ! (Reads one letter.) Oh! Oh! Oh! Oh! Read, my dear, read. {Nervously hands letter to Mrs. Sweetly and starts to read another.) Mrs. Sweetly (reading). My darling Henry: — WHERE IS MY COAT ? 1 1 (screams) I am dying to see you. I have so much to tell you and I long to imprint a kiss upon your lips and tell you how much I have missed Ever yours, Mabel. (Screams.) Oh! this is awful. Henry (amazed, goes c). What's that — what's that ? Mrs. Lemmons. And here's another one ! (Hands letter to Mrs. Sweetly, who reads its contents.) My darling Henr}^ : — Don't fail to be at the appointed place at five o'clock Wednesday afternoon. Yours with love, and many, many — (Mrs. Sweetly screams) from Mabel. Oh ! you deceiving wretch I Henry (completely at sea). Mabel! Mrs. Lemmons. That's right! Call him anything you can think of, my dear. Nothing's too bad for him. Mrs. Sweetly (to Henry). Oh! You are caught — what do you mean, you wretch ? (Flourishes the letters under Henry's nose. Mrs. Lemmons claps her hands and urges her daughter to berate and attack Henry.) Henry (c). One moment! One moment, please ! First of all, I never saw those letters. Mrs. Lemmons (l.). What! Do you deny it — when you're caught with the goods? Mrs. Sweetly (l. c). Don't add insult to injury by trying to tell a barefaced lie, Henry. Henry (c). I repeat that I never saw those letters. Mrs. Lemmons. Tell that to the marines. Henry. I swear it, upon my honor. I never saw those letters, and they are not mine. Mrs. Sweetly. No. They are Mabel's. (Puts letters into her dress.) Mrs. Lemmons. Yes. Mabel sends you kisses and longs to kiss your lips. Your lips, that your poor trusting fool of a wife has allowed you to press to her 12 WHERE IS MY COAT f own innocent ones. Oh! Oh! If you belonged to me! ]Mrs. Sweetly. I will appeal to the courts for re- dress. Don't come near me or I'll scratch your face. {Screams, goes up l. and paces the stage, followed by Mrs. Lemmons, who adds to the confusion by bidding her daughter drive Henry out or use a broom on him. Henry, in despair and bewilder- ment, goes R.) Mrs. Lemmons (up l.). Let me look at this precious coat. Perhaps there is something you over- looked. (Goes up c, gets coat from rack, and brings it into room.) Mrs. Sweetly. Oh, there can't be more. What we have is too much. Mrs. Lemmons (up c). Too much! What do you think of this? (Pulls photograph from pocket of coat, and holds it up, reading from the back.) Yours lovingly, Mabel. (Throws coat on floor.) Mrs. Sweetly. What ! ( She rushes up c. to her mother.) Henry (down r.). Well, I'll be darned! Mrs. Lemmons (up c). Here she is. This is Mabel. (Mrs. Sweetly ga^es at the photo.) Mrs. Sweetly. I dare say he will tell us he never saw this picture before. Henry (going l.). I did not. Mrs. Lemmons. And you wait. (Both women tear up the picture. Mrs. Sweetly comes down l. and throws the fragments at Henry.) Mrs. Sweetly. There's vour dear Mabel. WHERE IS MY COAT ? I3 {She goes hack to her mother, up c, and falls into her arms. Both weep violently, while Henry is frantic and protesting.) Henry (going up l. c). Listen to me — listen, both of you. I swear I never saw the photo or letters be- fore and some one must have placed them in my coat. (Mrs. Lemmons laughs.) Mrs. Lemmons. Oh ! what a lame excuse ! Mrs. Sweetly. Don't do the baby act, Henry. It's too late for that. Some one placed them in your pocket, indeed ! (Weeps violently and Mrs. Lemmons weeps also. Henry picks up and examines the coat, which he brings down l.) Henry. Why! This is not my coat. (Both zvomen look up and exclaim, " What! ") I repeat that this is not my coat. There is a serious mistake here. (Mrs. Sweetly comes down to him and examines the coat.) Mrs. Sweetly. It's true, mother. This is not Henry's coat. Where did you leave your coat? Mrs. Lemmons (up c). Not his coat! (She comes down l. c. and examines the coat.) Then where did you leave your coat? Whose coat is it? This makes matters worse. Where have you been? Where could you go and leave your coat ? (Both women come near Henry and pump the questions at him over and over, until he breaks away from them and crosses r.) Henry (down r.). Stop! Stop! You'll drive me crazy ! Let me think ! Oh ! let me think ! Mrs. Lemmons. Yes — let him think of another beautiful story to tell us. Mrs. Sweetly (crossing r. to Henry). No — he 14 WHERE IS MY COAT ? can't tell me any more. Where did you leave your coat ? (Henry throws coat over chair down R.) Henry. In the lunch room next door to our office — I went in there for a moment. Mrs. Lemmons {coming down c. behind table). To have your watch fixed ! Henry {imitating her). No — not to have my watch fixed — attend to your own clock on the mantel there. (Mrs. Sweetly goes up r.) Mrs. Lemmons. That's always exactly right. I attend to it myself. Henry. I repeat that I know nothing whatever of those letters nor this coat. Some one has stolen my coat and left this one in its place. Mrs. Sweetly. I do not believe one word of it. {Bell rings and Henry Darcy's voice heard outside of door c.) Darcy {heard off). Is this Mr. Sweetly's apart- ment? Mrs. Lemmons {going up l.). Why, who's that? Henry. Search me. {Enter, c, Darcy, who bows politely. He has a coat over his arm.) Darcy. Mr. Sweetly? Henry. That is my name, sir. (Darcy hangs hat on rack, holding coat on his arm. He bows to ladies. Mrs. Sweetly crosses to her mother up l.) Darcy {coming down r. to Henry). I obtained your address in the lunch room after you had departed and taken my coat. (Mrs. Lemmons and Mrs. Sweetly laugh.) WHERE IS MY COAT ? 1 5 Mrs. Lemmons. A likely story, and well told by a confederate. Mrs. Sweetly (to Henry). So you planned to have this — gentleman — call here and aid you in your deception, eh? (She comes dozvn l.) Mrs. Lemmons. That story is too thin! Darcy (r. c). What do you mean, madam? I did not come here to be insulted. I came here to de- nounce the man who has stolen my coat. Henry {threateningly). Sir! How dare you in- sinuate that Darcy. No need to get excited. You took a coat from the Star Lunch Room, didn't you? Henry. Yes, in mistake for my own. Darcy. Well, we will call it a mistake. That coat was mine, anyway. Henry. H it's your coat perhaps you'll be good enough to tell these ladies that the letters and photo- graph of Mabel that they found in it are yours also. Darcy. May I ask what you know of Mabel ? Mrs. Lemmons (coming c. behind table). We know enough about her, and we know enough of you and Mr. Sweetly. A fine pair of deceitful creatures. Darcy. Madam, I do not know your husband, nor do I wish to know him. Mrs. Lemmons (c). He's not my husband! If he were, he would be on his way to a hospital by this time. Darcy. I don't care to mix in your family jars — but I want my coat. HI don't get it in two minutes I'll get a policeman. Henry (r.). I'm not a thief, sir. Apologize for that insult. Darcy (r. c). I want my coat, do you hear? (They bluster up to each other.) Mrs. Lemmons (going to Mrs. Sweetly dozvn l.). How well they play their parts, but they cannot deceive me ! My husband tried to work all those old bluffs on me, but I was too smart for him. l6 WHERE IS MY COAT ? Darcy. I did not track you to this house to be insulted, nor am I to be driven from my purpose. I want my coat, and its contents, intact. Mrs. Sweetly (l.). There are the letters that my husband says he never saw before. (Goes L. c. and throws letters on table in front of Darcy, who picks them up. She goes behind table c.) Henry (r.). And there is your coat, sir. (Takes coat from chair and gives it to Darcy, who hands Henry the coat he is carrying. Henry examines it, is satisfied that it belongs to him and throws it on chair down R.) And now give me mine! What is your name, sir? Darcy (r. c). Henry Darcy. (Feels in pockets of his coat.) Mrs. Lemmons (coming l. c). Henry Darcy! I knew a Henry Darcy long ago in Pittsburgh. . Darcy. That is my birthplace. Mrs. Lemmons. Did you ever know a young lady named Abigail Plimpton? Darcy. I certainly did! We were sweethearts, but she turned me down for a richer fellow named Darius Lemmons ! (Mrs. Lemmons screams and falls in chair l. of table.) Mrs. Sweetly (bending over her mother). What does it all mean, mother? Mrs. Lemmons. It means that Mr. Darcy is my old admirer — and — and Darcy (r. c). She gave me the mitten, but she conferred a favor upon me. I have been an old bachelor ever since. (Goes c. near Mrs. Lemmons.) Mrs. Lemmons. Oh, Henry Darcy! (Rises and falls in his arms.) WHERE IS MY COAT? 1 7 Darcy (r. c). Bless my soul, madam! Why — why — it's Abigail ! Where — is — Darius ? (Mrs. Sweetly comes down l. c.) Mrs. Lemmons (weeping). He's gone! I am a widow without — a — husband. Darcy. I've often thought of you, Abigail, what a sweet, tender, loving girl you were. Henry (aside). What a pity she outgrew it! Mrs. Lemmons. And I have been thiuKing of you, oh, so often! Mrs. Sweetly. Don't forget, mother, all men are fabricators. You would not believe one under oath. They belong in the Ananias Club. (Laughs and goes up r.) Mrs. Lemmons. Not all of them. Henry (r.). Well, I've got my coat, and you've got yours — and your letters. Mrs. Lemmons (l. c). Oh! Those letters from Mabel. Henry, tell me who are they from? Darcy (c). From my sister, Mabel. Mrs. Sweetly. Oh! Don't believe a story like that, mother! (Comes down r.) Mrs. Lemmons. Well, I remember that Henry did have a younger sister called Mabel, didn't you, Henry ? Darcy. Why, certainly. I'll show you her photo- graph. (Searches pockets.) Where is that picture of Mabel ? I had it in this pocket. Mrs. Lemmons. I am ashamed to confess that we tore it up. Darcy. Tore it up ? Why ? Henry (r.). Female jealousy! Mrs. Sweetly (l. c). I thought it was an old flame of my husband's and that the letters were from her also. Darcy. My sister Mabel has arrived in town, and is anxious to meet me. Look at the address on the envelopes and you will see that the letters are ad- dressed to Henry Darcy and not Henry Sweetly. 1 8 WHERE IS MY COAT ? {Hands letters to Mrs. Lemmons, and puts coat on chair. ) Mrs. Lemmons. Never mind about the letters. {She throws letters on table.) Mrs. Sweetly is too hasty. She suspects her husband without just cause. Mrs. Sweetly. Oh, dear! Hold me, Henry! {Goes to Henry.) Darcy. I am sorry that I have caused you all so much trouble. Mrs. Lemmons. Oh, not at all, Henry, dear. This has been the happiest day of my life. Tm sorry it's so late. We might have a little supper together. Darcy {looking at watch). Late? Why, it's only quarter of ten. Mrs. Lemmons. What? {Looks at clock.) Henry {to Darcy). Do you mean to say it's only quarter of ten now? Darcy {showing watch). Certainly. {Puts watch in pocket.) Henry {to Mrs. Lemmons, as he laughingly points to clock). And that's the infallible clock that you always look after yourself. Mrs. Sweetly {to her husband). Oh, Henry, for- give me. Henry {putting arm around her). That's all right, old girl. Darcy (r. c). Well, Abigail, you haven't intro- duced me to this lady. Mrs. Lemmons. My only daughter. (Mrs. Sweetly bows.) And I named her Henrietta, after you. Darcy. Oh, Abigail ! How much you must have thought of me. Why did you ever turn me down? Mrs. Lemmons. Well, I might reconsider it now. Darcy. Say no more ! You will be Mrs. Darcy as soon as you fix the date. Henry {laughing). Another poor man gone WHERE IS MY COAT ? I9 wrong. (Aloud.) Well, thanks, old man, for bring- ing my coat, for you have brought peace where war was raging furiously! Darcy (c). Well, that's fine. Everybody satis- fied. I've got my own coat, too. Mrs. Lemmons (l. c). And your Abigail! Mrs. Sweetly (r.). And I've got my own truthful Henry. Henry (r.). And I've got my own coat — and my dear forgiving wife. Mrs. Sweetly Darcy Henry Mrs. Lemmons CURTAIN Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program GRADUATION DAY AT WOOD HILI< SCHOOL. An Entertainment in Two Acts, by Ward Macauley. For six males and four females, with several minor parts. Time of playing, two hours. Modern costumes. Simple interior scenes; may be presented in a hall without scenery. The unusual com- (bination of a real "entertainment," including music, recitations, etc., with an interesting love story. The graduation exercises include short speeches, recitations, songs, funny interruptions,^ and a comical speech by a country school trustee. Price, 15 cents. EXAMINATION DAY AT WOOD HILL SCHOOL. An Entertainment in One Act, by Ward Macauley. Eight male and six female characters, with minor parts. Plays one hour. Scene, an easy interior, or may be given without scenery. Cos- tumes, modern. Miss Marks, the teacher, refuses to marry a trustee, who threatens to discharge her. The examination in^ eludes recitations and songs, and brings out many funny answers to questions. At the close Robert Coleman, an old lover, claims the teacher. Very easy and very effective. Price, 15 Cents. BACK TO THE COUNTRY STORE. A Rural Enter- tainment in Three Acts, by Ward Macauley. For four male and five female characters, with some supers. Time, two hours. Two scenes, both easy interiors. Can be played effectively with- out scenery. Costumes, modern. All the principal parts are sure hits. Quiglcy Higginbotham, known as "Quig," a clerk in a country store, aspires to be a great author or singer and decides to try his fortunes in New York. The last scene is in Quig's home. He returns a failure but is offered a partnership in the country store. He pops the question in the midst of a surprise party given in his honor. Easy to do and Very funny. Price, 15 cents. THE DISTRICT CONVENTION. A Farcical Sketch in One Act, by Frank Dumont. For eleven males and one female, or twelve males. Any number of other parts or super- numeraries may be added. Plays forty-five minutes. No special kcenery is required, and the costumes and properties are all easy. The play shows an uproarious political nominating con« vention. The climax comes when a woman's rights cham-^ pion, captures the convention. There is a great chance to bur- lesque modern politics and to work in local gags. Every part will make a hit. Price, 15 cents. SI SLOCUM'S COUNTRY STORE. An Entertainment in One Act, by Frank Dumont. Eleven male and five female characters with supernumeraries. Several parts may be doubled. Plays one hour. Interior scene, or may he played without set scenery. Costumes, modern. The rehearsal for an entertain- ment in the village church gives plenty of opportunity foi specialty work. A very jolly entertainment of the sort adapted to almost any place or occasion. Price, 15 cents. THE PENN PUBUSHING COMPANY PHILADELPHIA Unusually Good Entertainments Read One or More of These Before Deciding on Your Next Program A SURPRISE PARTY AT BRINKLEY'S. An En- tertainment in One Scene, by Ward Macauley. Seven male and seven female characters. Interior scene, or may be given with- out scenery. Costumes, modern. Time, one hour. By the author of the popular successes, "Graduation Day at Wood Hill School," "Back to the Country Store," etc. The villagers have planned a birthday surprise party for Mary^ Brinkley, recentlyj graduated from college. They all join in jolly games, songs, conundrums, etc., and Mary becomes engaged, which surprises the surprisers. The entertainment is a sure success. Price, 15 cent3, JONES VS. JINKS. A Mock Trial in One Act, by Edward MuMford. Fifteen male and six female characters, with supernumeraries if desired. May be played all male. Many of the parts (members of the jury, etc.) are small. Scene, a simple interior ; may be played without scenery. Costumes, modern. Time of playing, one hour. This mock trial has many novel features, unusual characters and quick action. Nearly every character has a funny entrance and laughable lines. There are many rich parts, and fast fun throughout. Price, 15 cents. THE SIGHT-SEEING CAR. A Comedy Sketch in One A.ct, by Ernest M. Gould, For seven males, two females, or may be all male. Parts may be doubled, with quick changes, so that four persons may play the sketch. Time, forty-five minutes. Simple street scene. Costumes, modern. The superintendent ■of a sight-seeing automobile engages two men to run the machine. A Jew, a farmer, a fat lady and other humorous characters give them all kinds of trouble. This is a regular gat- ling-gun stream of rollicking repartee. Price, 15 cents. THE CASE OF SMYTHE VS. SMITH. An Original Mock Trial in One Act, by Frank Dumont. Eighteen males and two females, or may be all male. Plays about one hour. Scene, a county courtroom ; requires no scenery ; may be played in an ordinary hall. Costumes, modern. This entertainment is nearly perfect of its kind, and a sure success. It can be easily produced in any place or on any occasion, and provides almost lany number of good parts. Price, 15 cents. THE OLD MAIDS' ASSOCIATION. A Farcical Enter-i tainment in One Act, by Louise Latham Wilson. For thirteeni females and one male. The male part may be played by a female, and the number of characters increased to twenty or more. Time, forty minutes. The play requires neither scenery nor properties, and very little in the way of costumes. Can easily be prepared in one or two rehearsals. Price, 25 cents. * BARGAIN DAY AT BLOOMSTEIN'S. A Farcical Entertainment in One Act, by Edward MumfoRd. For five males and ten females, with supers. Interior scene. Costumes, mod- ern. Time, thirty minutes. The characters and the situations which arise from their endeavors to buy and sell make rapid-fire fun from start to finish. Price, 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA Successful Plays for All Girls In Selecting Your Next Play Do Not Overlook This List YOUNG DOCTOH DEVINE. A Farce in Two Acts, by Mrs. E. J. H. Goodfellow. One of the most popular plays for girls. For nine female characters. Time in playing, thirty minutes. Scenery, ordinary interior. Mod- ern costumes. Girls in a boarding-school, learning that a young doctor is coming to vaccinate all the pupils, eagerly con- sult each other as to the manner of fascinating the physician. When the doctor appears upon the scene the pupils discover that the physician is a female practitioner. Price, 15 cents. SISTER MASONS. A Burlesque in One Act, by Frank DuMONT. For eleven females. Time, thirty minutes. Costumes, fantastic gowns, or dominoes. Scene, interior. A grand expose of Masonry. Some women profess to learn the secrets of a Masonic lodge by hearing their husbands talk in their sleep, and they institute a similar organization. Price, 15 cents. A COMMANDING POSITION. A Farcical Enter- tainment, by Amelia San ford. For seven female char- acters and ten or more other ladies and children. Time, one hour. Costumes, modern. Scenes, easy interiors and one street scene. Marian Young gets tired living with her aunt, Miss Skinflint. She decides to "attain a commanding position." Marian tries hospital nursing, college settlement work and school teaching, but decides to go back to housework. Price, 15 cents. HOW A WOMAN KEEPS A SECRET. A Comedy in One Act, by Frank Dumont. For ten female characters. Time, half an hour. Scene, an easy interior. Costumes, rnodcrn. Mabel Sweetly has just become engaged to Harold, but it's "the deepest kind of a secret." Before announcing it they must win the approval of Harold's uncle, now in Europe, or lose a possible ten thousand a year. At a tea Mabel meets her dearest friend. Maude sees Mabel has a secret, she coaxes and Mabel tells her. But Maude lets out the secret in a few minutes to another friend and so the secret travels. Price, 15 cents. THE OXFORD AFFAIR. A Comedy in Three Acts, by Josephine H. Cobb and Jennie E. Paine. For eight female characters. Plays one hour and three-quarters. Scenes, inter- iors at a seaside hotel. Costumes, modern. The action of the play is located at a summer resort. Alice Graham, in order to chaperon herself, poses as a widow, and Miss Oxford first claims her as a sister-in-law, then denounces her. The onerous duties of Miss Oxford, who attempts to serve as chaperon to Miss Howe and Miss Ashton in the face of many obstacles, furnish an evening of rare enjoyment. Price 15 cents. THE PENN PUBLISHING COMPANY PHILADELPHIA LIBRARY OF CONGRESS The Power of E 017 401304 4 Expression and efficiency go hand in h. The power of clear and forceful expression brings confi- dence and poise at all times — in private gatherings, in public discussion, in society, in business. It is an invaluable asset to any man or woman. It can often be turned into money, but it is always a real joy. In learning to express thought, we learn to command thought itself, and thought is power. You can have this power if you will. Whoever has the power of clear expression is always sure of himself. The power of expression leads to: The ability to think "on your feet" Successful public speaking Effective recitals The mastery over other minds Social prominence Business success Efficiency in any undertaking Are these things worth while? They are all successfully taught at The National School of Elocution and Oratory, which during many years has de- veloped this power in hundreds of men and women. A catalogue giving full information as to how any of these accomplishments may be attained will be sent free on request, THE NATIONAL SCHOOL OF ELOCUTION AND ORATORY Parkway Building Philadelphia